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TREATISE
or
LONDON MDCCXLTX
PREFACE.
TW
oftheSCOTISH
Nation,
am
inclinable to give
him
the Preference.
But Melody, tho' pleafing to All, feldom communicates the higheft Degree of Plea*
fure ; and it was owing to this Refledion, that I lately have undertaken to improve the
Melody of Rizzio into Harmony, by converting fome of his Airs into two, three, and four
Parts; and by making fuch Additions and Accompanyments to others as fhould give them
all the Variety and Fullnefs required in a Concert.
How far
have fucceeded in this Attempt, thofe who are moft converfant in the Art,
But how difficult it was to fucceed in it. No-body can judge better
are the fitteft to judge
than myfelf (not to deftroy the Simplicity and Beauty, I found required fome Difcretion)
But to add new Parts on the fame Principles, and to create Harmony without violating the
I
Work
made
that I
public,
The
firft
do not pretend
have been Adventurers in the fame Voyage ; and none with more Succefs than the celebrated Conliiy as may be feen in his fifth Compofition upon the Aria della Follia di Spagnia,
had the Pleafure of difcourftng with him myfelf upon this Subjed, and heard him
acknowledge the Satisfadion he took in compofing it, and the Value he fet upon it.
I have
The
Impoffibility
has
that
may feem
this
Undertaking
The
and the Envy that
:
on former Profeffors
generally attends every new Difcovcry in the Arts and Sciences, have hitherto dcferr'd my
publifliing thefe Rules of Singing and Playing in a good Tafte. But at laft preferring the
Benefit of the Public to all Manner of other Confiderations, I have determined no longer to
conceal an Article of fuch Importance, which will be even beneficial to fome grumbling Profeflbrs, as well as to true Lovers of Musick.
Imputation of Negligence
it
to caft
An
^ ]
INTRODUCTION
An
WHAT
commonly
Tade
good
good Tafte
to a
Musick.
in
call'd
Perfedion, hence
this
make
to
it
happens that he
fome
continually
Tinging
in
who
much
favourite Paflages or
as
Means he
this
a good Performer,
to
be eaflly obtained by any Perfon, who is not too fond of his own Opinion, and
I would not however have it fupdoth not obftinately reflft the Force of true Evidence.
pofed that I deny the powerful Efleds of a good Ear ; as I have found in feveral Inftances
how great its Force is ; I only afl!ert that certain Rules of Art are necefl!ary for a moderate
and
may
it
End
Genius, and
the
are
arrive at Perfedion,
who
recommend
the Study and Pradice of the following Ornaments of Expreflion, which are fourteen in
Number
namely,
plain Shake (
) 2d
inferior Apogiatura (
;
An
ling the
Sound
Turnd Shake
3**
)
( -
Apogiatura
fupcrior
6^^ Staccato
10*
14* A
Piano (p.)
Y )
7^ Swel-
Forte
Separation ( ^ )
clofe Shake
> )
( // )
From the following Explanation we may comprehend the Nature of each Element
(
12^^
'
13^^
Beat
in particular.
f Firjlj
The
plain
Shake
cbfeivingafter
it
is
Of
to pafs
immediately
to the
Of
(Second^)
The
Plain Shake.
the
and
may
be
enfuing Note.
the
Turned Shake.
is
to cxprefs Gaiety
fit
it fliort,
it
fofr,
it
may
but if you
make
Of
(Thirdy)
The
be
to,
Superior Apogiatura
made
fwell
If
it
made
be
Affedion, Pleafure,
It
fhould
it
Apogiatura.
obferving to
little:
is
the Superior
may
Fourth^
much of the
aforefaid Qualities
Of
the Inferior
will.
Apogiatura.
Apogiatura has the fame Qualities with the preceding, except that it is much
more confin'd, as it can only be made when the Melody rifes the Interval of a fecond or
The
third,
Inferior
obferving to
make
(
It
is
Fifth )
Cf Holding
;
for
were we
to
Note.
make
out fometimes fuffering the pure Note to be heard, the Melody would be too
much
diverfify'd.
Sixth
[ 3 ]
Of
(Sixth )
Staccato.
the
This exprefles Reft, taking Breath, or changing a Word ; and for this Reafon Singers fhould
be careful to take Breath in a Place where it may not interrupt the Scnfe.
are both extremely neceflary to exprcfs the Intention of the Melody ; and as all
MuHck fhould be compofed in Imitation of a Difcourfe, thefe two Ornaments are de-
They
good
figned to produce the fame Effects that an Orator does by railing and falling his Voice.
Of Anticipation.
f Eleventh )
Anticipation was invented, with a View to vary the Melody, without altering its Intention:
When it is made with a Beat or a Shake, and fwelling the Sound, it will have a greater EfTecl,
efpecially
if
you obferve
to
ufe of
make
when
it
the Melody
rifes
a Second.
Of
(Twelfth J
the Separation.
The
Separation
is
By this Tendernefs
is
exprefs'd.
Of
( Thirteenth J
the
Beat.
is
proper to exprefs
fcveral Paflions
Of
(Fourteenth)
as for
of purblind Undcrftandings, and half Ideas may perhaps ask, is it poflible to give
Meaning and Expreflion to Wood and Wire ; or to beftow upon them the Power of raiSng
and foothing the Paflions of rational Beings ? But whenever I hear fuch a Qiieftion put, whether for the Sake of InformationjOr to convey Ridicule,
I lliall
mak no
a different Meaning.
Even
And
Difficulty to
fhall
think
it
anfwer
fufficient
common
the
[4]
the Imagination of the Hearer
Help of
is
much at
in general fo
Movements, Intervals and Modulation he may almoft ftamp what Imprefljon on the Mind he pleafcs.
Thefe extraordinary Emotions are indeed moft eafily excited when accompany'd widi
Words ; and I would befides advife, as well the Compofer as the Performer, who is ambitious to infpire his Audience to be tirft infpired himfelf, which he cannot fail to be if hechufes
a Work of Genius, if he makes himfelf thoroughly acquainted with all its Beauties ; and
if while his Imagination is warm and glowing he pours the fame exalted Spirit into his own
Variations,
Performance.
The
Acciaccatura
is
a Compofition of fuch
Chords
Fire.
have colleded and explained all the Ingredients of a good Talle, and nothing remains but to caution the Performer againft concluding, that a mere mechanical Application
of them, will anfwer the great Purpofe of eftablifliing a Charader among the Judicious in
all Arts and Sciences, fomething mull be left to the good Senfe of the Profeflbr ; for as the
Soul informs the Body, fo every Rule and every Principle mufl: be enforc'd by the Knowledge
Thus
and
Skill
of him
who
puts
it
End
in Practice.
have in view,
is
to contribute as far as
my
to the Perfedion of an Art that I love, and to refcue the Charader of Mufician from the Difgrace and Contempt which the Follies of ignorant Pretenders have brought upon it, I hope
Countenance to the Mifconftrudion which thofe Pretenders may think their Interefi^ to pafs upon it.
To fay All in few Words, the Road to Emulation is both open and wide ; the moft effedual Method to triumph over an Author is to excel him ; and he manifefts his AfFedion
to a Science moft who contributes moft to its Advancement.
When I came firft to hondon^ which was Thirty-four Years ago, I found Muftck in fo
thriving a State, that I had all the Reafon imaginable to fuppofc the Growth would be fuita-
no acknowledg'd Mafter
But I have lived to be moft miferably difappointed ; for tho' it cannot be faid that there
was any want of Encouragement, that Encouragement was ill beftow'd.
The Hand was more confidered than the Head ; the Performance than the Compofition ;
and hence it followed, that inftead of labouring to cultivate a Tafte, which feem'd to be all
that was wanting, the Publick was content to nourifh Inftpidity.
Architecture, on the contrary, at that Time was in a very deplorable State, and yet in
the fame Interval, it has rifen to its Meridian under the Protedion of a moft noble and inteland under a Patronage yet more illuftrious and fublime, I have ftrong
ligent
LORD;
Reafons
to flatter
myfelf of feeing
MU S
CK
do tht fame.
Georgh E
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